DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0070
BIOGRAPHICAL ILLUSTRATIONS.
2. As a youth. Reduced reproduction of the drawing by Diirer, in
the University Library at Erlangen. The inscription, “ Martin Schon
Contrefeit,” and the date, 1465, are later additions. A full size repro-
duction accompanies the article by W. von Seidlitz (Jahrb. der K. preuss.
Kunstsammlungen, XV, pp. 23-26), in which attention was called to this
portrait for the first time. (On the same mount are grouped together
reduced reproductions of the four earliest known portraits of Diirer by
himself. Compare Nos. 1, 3, and 4.)
3. 1493. Engraver-etching, by Louis Schulz, from the painting by
Diirer in the possession of Mr. Eugen Felix, of Leipsic. Above is
written: “ 1493. My affairs go, as it stands above,” i. e., according to
the will of heaven. An old copy is in the Museum at Leipsic. It was
this copy on which Goethe based his enthusiastic description in his
“Annals” for 1805. For Thausing’s speculations regarding the sup-
posed connection of this picture with Diirer’s marriage with Agnes Frey,
in the year 1494, see his first volume, pp. 131-134, 2d ed.
4. 1498. Photograph from the painting by Diirer, in the gallery of
the Prado, at Madrid. The inscription reads: “1498. I painted this
from my figure, when I was six-and-twenty years old,” followed by the
monogram. A duplicate, in the gallery of the Uffizi at Florence, is,
according to Thausing (I, p. 187, 2d ed.), a copy.
5. 1498. Etching by Wenzeslas Hollar, executed in the year 1645,
from a similar picture, which was at the time in the collection of the
Earl of Arundel. The position is reversed, and the inscription, identical
as to matter, stands near the lower margin, whereas in No. 4 it is placed
under the window, with the date and monogram.
6. 1504, 1505 ? Photograph from the best-known of Diirer’s por-
traits of himself, in the gallery (Pinakothek) at Munich. According to
Thausing (II, pp. 97-98, 2d ed.), “the picture is in very bad condition
to-day. Little is left of its original coloring, which, without a doubt,
was quite bright and clear. Repainting and brown varnish have given
it the look of a picture by a late artist of the Netherlands, who is in
lii
2. As a youth. Reduced reproduction of the drawing by Diirer, in
the University Library at Erlangen. The inscription, “ Martin Schon
Contrefeit,” and the date, 1465, are later additions. A full size repro-
duction accompanies the article by W. von Seidlitz (Jahrb. der K. preuss.
Kunstsammlungen, XV, pp. 23-26), in which attention was called to this
portrait for the first time. (On the same mount are grouped together
reduced reproductions of the four earliest known portraits of Diirer by
himself. Compare Nos. 1, 3, and 4.)
3. 1493. Engraver-etching, by Louis Schulz, from the painting by
Diirer in the possession of Mr. Eugen Felix, of Leipsic. Above is
written: “ 1493. My affairs go, as it stands above,” i. e., according to
the will of heaven. An old copy is in the Museum at Leipsic. It was
this copy on which Goethe based his enthusiastic description in his
“Annals” for 1805. For Thausing’s speculations regarding the sup-
posed connection of this picture with Diirer’s marriage with Agnes Frey,
in the year 1494, see his first volume, pp. 131-134, 2d ed.
4. 1498. Photograph from the painting by Diirer, in the gallery of
the Prado, at Madrid. The inscription reads: “1498. I painted this
from my figure, when I was six-and-twenty years old,” followed by the
monogram. A duplicate, in the gallery of the Uffizi at Florence, is,
according to Thausing (I, p. 187, 2d ed.), a copy.
5. 1498. Etching by Wenzeslas Hollar, executed in the year 1645,
from a similar picture, which was at the time in the collection of the
Earl of Arundel. The position is reversed, and the inscription, identical
as to matter, stands near the lower margin, whereas in No. 4 it is placed
under the window, with the date and monogram.
6. 1504, 1505 ? Photograph from the best-known of Diirer’s por-
traits of himself, in the gallery (Pinakothek) at Munich. According to
Thausing (II, pp. 97-98, 2d ed.), “the picture is in very bad condition
to-day. Little is left of its original coloring, which, without a doubt,
was quite bright and clear. Repainting and brown varnish have given
it the look of a picture by a late artist of the Netherlands, who is in
lii